纪录片解说词创作理念探析——以《舌尖上的中国》为例

解说词作为纪录片创作中不可回避的一个环节,其创作理念与风格也在发生变化。影视是声画结合的艺术,观众对纪录片解说词的理解与感受虽是诉诸于人类的听觉,但解说词的本质仍属于文字。因此,必须在纪录片制作的大背景下,思考解说词的创作。 传播学理论中的“5W模式”为我们分析解说词的创作理念提供了理论框架。为此采用案例分析法,以《舌尖上的中国》（第一季）为例,对纪录片解说词的创作理念进行多视角的分析与总结。认为纪录片解说词的创作要以影视创作的思维方式进行,不仅需要对纪录片的受众定位与传播内容进行研究,还要具有一定的拍摄与剪辑意识。     

韩、柳古文创造的路径及其体性

在对韩、柳古文运动及其理论研究中,人们对于文道理论尤为重视,而对于古文的文体创造与体性却有所忽视.本文指出,韩、柳古文的创造主要遵从了三条路径:从时态上看,是非今革古之路;从语体上看,是融合骈散之路;从观念上看,是出文入笔之路.正是这几条路径的选择,创造出了韩、柳古文这种混合今古、以散带骈、跳出文笔的全新文体,中国散文学史也因此从文笔对举阶段走向了诗文并称的新阶段.对于以往研究中诸如古文运动以骈文为对立面等不实认识,本文也有所纠正.     

拨开花繁柳密处——评唐双宁的散文创作

唐双宁具有艺术家和金融家的双重气质,其散文在很大程度上既是他人生经验的浓缩和人生智慧的升华,也是他对文化力量的真切感受,表现了作者自己的"通道"之路。他的散文既有对时弊的针砭,也有对理想的渴望,渗透了他感时伤怀的见识和智慧,是政治家的散文;在剖析事物时既能透过事物的正面看到反面,也能透过事物的反面看到正面,是思想家的散文;不但对家乡的山水满怀深情,而且对贫穷地区的人民也有深切关怀,在一定程度上是孝子的散文。     

从敦煌本《大智度论》看《汉语大词典》的书证问题

敦煌本《大智度论》多为南北朝时期写本,保存了《大智度论》的原始形态,是宝贵的第一手语言材料,对辞书编纂、修订以及汉语词汇史研究都具有重要意义。本文利用敦煌本《大智度论》对《汉语大词典》书证始见例做了提前,对孤证词条做了增补。     

论清代诗文名家彭兆荪的骈文创作

镇洋彭兆荪是清代乾嘉间名震文坛的骈体名家,他的骈文作品主要收录在《小谟觞馆文集》4卷及《续集》2卷中。彭氏认为,骈体文的出现,乃文学史发展的必然结果;骈散异途同源,不分尊卑,而八代之文未尝衰;同时,骈文应以六朝为高标,并依此“矫厉肤庸,归诸渊雅”,使当代骈文创作走上正轨。彭氏骈文的主要特点与成就,体现在三个方面,即精熟《选》理、宏博沉丽,以散运骈、辞茂气盛和诸法兼擅、尤工议论。就文学史地位而言,在清代骈文史上,彭兆荪足称一代名家,我们应对他的骈文引起足够的重视。     

The Legal Trial And/In Documentary Film

This article proposes to extend the work of law and film scholars, such as Carol Clover and Jennifer Mnookin, by looking at how juridically themed documentary films use the legal trial as both a platform and a structuring device to contest the evidentiary value of testimony, bear witness to the performance of law in our culture and engage in a social debate about flaws in contemporary jurisprudence. Because non-fiction film – with its presumed indexical relationship to reality and its attendant claims to authenticity – is often seen as having a privileged relationship to truth, the ethical and epistemological stakes of these visual representations are heightened. Consequently, the expectations we bring to the juridical documentary (in terms of its truth-telling responsibilities) make it a particularly loaded space for analysing the ethical and epistemological responsibilities of documentary representation as well as for revealing truths about the legal process and the ordering of a just society. Thinking through the ways in which contemporary trial documentaries differently approach the question of their subjects' guilt allows us to reflect on how the juridical documentary refracts the legal trial's own truth claims. These documentary films demonstrate that, while the documentary and the legal trial might share an epistemological affinity based on shared principles of evidence, narrative and argument, the way in which the trial itself is thematized as both a discourse and a practical purveyor of justice in documentary influences how we come to understand the law in action.     

There is No Place Like Home: The Body as the Scene of the Crime in Sexual Assault Intervention

ABSTRACT

“The body is the scene of the crime,” is an oft-repeated phrase among nurses conducting sexual assault forensic examinations. This instruction reminds nurses that the object under scrutiny, the sexually violated body, is the location and source of establishing legal evidence. The nurses' interest lies in recovering evidentiary materials towards deriving a future juridical truth and providing a means for remedy or restitution. The constitution of truth obscures how the subject comes to be at home and dwell in a world where rape occurs. This article argues that regarding the body as a crime scene is more than a rhetorical or pedagogical move made by forensic practitioners. Rather, forensic examination is constituted through rigorous and meticulous techniques that scrutinize the body of the sexually violated subject in such a way that the harming and healing capacities of the domestic are disarticulated from one another. What is at stake is the state's reliance on a notion of the domestic as a sphere to which one might return and heal, even in instances where the domestic itself is the source or site of injury, such as incest and domestic violence.     

“救时劝俗”与“追复纯古”——元结古文创作论

元结的古文创作分为两个阶段,最具特色的杂文作于天宝年间.它们偏于从政教、道德层面刺世疾邪,救时劝俗,而出语危苦激切、辞义幽约.元文除用寓言形式、独白直言形式外,多借问对形式结构其文以伸其意.元结为文主张复三代之古,直面现实,追求以儒学古道为本的艺术精神和淳朴、简明、劲直的风格,与萧、李等古文家主张有同有异,故其能以"特立之士"的姿态遥领韩愈古文革新之先.     

略论沈辽散文的思想内涵

沈辽散文内容丰富,主要反映在:知我知佛,崇仰佛门;佛忘我忘,修身持节;达观自然,超然物外;民生艰焉,为善殖福。从中既可以看出沈辽在思想上的复杂性,也可以看出他有一颗爱民之心。沈辽在政治上坎坷不平,一度被弹劾流放,颠沛流离中并没有意志消沉,而是形成了一种达观自然、超然物外的处世观,这也是整个宋代文人思想情感变迁的一个缩影。每到一处,沈辽都很关心民生,他的爱国爱民的高尚情操,令人景仰,这也是他诗文中光辉的一面。     

西汉辞赋创作所反映的文学思想

西汉辞赋作家在新的历史条件下,较少用理论阐述观点,而更多用创作表示见解。不少人写出许多形象生动、华实并茂、修辞出色、现实性强、以赋讽谏的优秀作品。这些辞赋创作反映了寓有时代气息的文学思想。它表明作家能够认识文学的形象性,争取内容与形式的统一,追求艺术的表现手法,注重表现时代与生活,重视辞赋的教育作用。